Plastic, that perfect polymerisation. Endlessly flowing, growing and changing. A material with manifold applications and usage, I am captivated with its currency as a commodity in mass consumer culture. It is the ideal material to employ as I navigate the conceptual domain of popular culture.

In these works the Pop imagery of my formative years is made abstract and amorphous. The shiny, high-gloss surface still signals desire with its origin on the shopping mall shelf, but it is as if the work has caught a virus, the previous iconic characters undone. The skin of my Pop principles has been peeled back to reveal a glistening, yet raw and swirling toxic tissue beneath, perhaps a symptom of excessive consumerism. The satisfaction of desire in the shopping mall is always temporary before it is replaced with desire for something else. This observation, for me, requires abstract representation. Dolly and Built for comfort are recognition of this epidemic.

‘Like a projection into the future where one witnesses one’s death, the sight of the dimensional depth just the other side of “skin-deep” can debilitate beyond comprehension’ (Philip Brophy, 2003).

The deformed and bloated limbs are testimony to the swoon of social modification. This mapping is therefore as much cartography of mental space as of physical space.